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I have reduced the number of photographs of Kapoors work in this article because such photographs are derivative works and can only be published with authorisation from the copyright holder. I have retagged the remaining two photographs (Image:Kapoor1.JPG & Image:SBC sculpture daytime.jpg to indicate the fact that I believe that the use of a couple of pictures in this article to illustrate Kapoor's style is fair use. —JeremyA 23:20, 17 August 2006 (UTC)

Could someone please add a picture of the artist himself as well?Zigzig20s (talk) 07:31, 8 March 2008 (UTC)

Jeremy: I hate to say this but 'derivative works' only applies within a given media - As kapoor's work is almost entirely sculpture (except for sketchbooks) there is no danger of ANY photograph infringing copyright held by AK himself - the photographer is however owner of the copyright so usual caution is wise. In addition to this the Berne convention explicitly excludes copyright protection, stating "Buildings, sculptures, models for buildings and works of artistic craftsmanship, if permanently situated in a public place, or in premises open to the public, may be drawn, photographed, filmed, videoed (etc) and issued to the public, all without infringing copyright in the original works." so thanks for being eager, but it really wasn't necessary. 81.107.147.216 (talk) 13:25, 23 April 2009 (UTC)

The text states "This practice was inspired by the mounds of brightly coloured pigment in the markets and temples of India."

This is a classic issue of Kapoors work - He is firmly of the opinion that his work is for the viewer to interpret, and goes to some lengths to prohibit anything that might be called 'official interpretation' from either his workshop, the Lisson or any gallery that shows his work. The myth that the pigment markets of india 'inspired' the '1000 names' sculptures can only be attributed to a critic or a journalist embroidering on the lack of any official press release. Kapoor himself has never said as such, and has made no comment on the matter - So saying that the work was 'Inspired by..' is entirely conjectural - It would be more truthful to say that it 'reminds some people of.." - but that isnt very encyclopedic is it. Personally I think this is one of the best aspects of Kapoors work, that it stands on its own merits, and that all 'so called' context is revealed as being the wishful thinking of the curators and critics, who usually have a far easier task putting words into artists mouths.

If i had signed in before I started writing this I might have removed the line - but as I haven't I'll leave it to others to decide. 81.107.147.216 (talk) 13:48, 23 April 2009 (UTC)

The exact words "inspired by" may be reading Kapoor's mind but interpretation of an artist's work, even if he disapproves of that interpretation, is OK as long as it is made clear who is making the interpretation. QuentinUK (talk) 22:46, 30 October 2010 (UTC)

An anonymous editor recently changed Kapoor's listed birthplace from Rajasthan to Mumbai. This strikes me as slightly strange (why was it listed wrong before if the new information is right?!). However, I have no knowledge of the actual fact, so don't want to change it. Can anyone find a 3rd party citation indicating Kapoor's place of birth? LotLE×talk 00:41, 28 July 2009 (UTC)

On the page "Academics of University of Wolverhampton", Anish Kapoor is listed and there is a link to his page. However, on his page, there is no mention of any connection with this university. Can anyone comment on whether he should be linked to this university? --TammyMoet (talk) 15:04, 1 February 2010 (UTC)

Any particular reason? The work is discussed in the text, and is the only illustration of the type of work for which the artist is best known. See the fair use rationales on the image. Johnbod (talk) 15:07, 2 August 2010 (UTC)

Per WP:NFC#UUI#6 which states, "An image to illustrate an article passage about the image, if the image has its own article (in which case the image may be described and a link provided to the article about the image)" which means if the work has it's own article (Cloud Gate) your supposed to link to the article, not use the copyrighted image in every article that might discuss the work. Also, WP:NFCC#8, states, "Contextual significance. Non-free content is used only if its presence would significantly increase readers' understanding of the topic, and its omission would be detrimental to that understanding." Which means if the image is not used in this particular article, is the removal of the image detrimental to the readers understanding? Since the article is about the artist, and a textual description of the copyrighted work and a link to the page where we can legally show the image of it is sufficient, I don't see where the reader is hurt by it not being shown here as well. — raekyT 15:52, 2 August 2010 (UTC)

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In 2010, Sir Anish Kapoor was invited to serve as a mentor for the Rolex Mentor and Protégé Arts Initiative, an international philanthropic programme that pairs masters in their disciplines with emerging talents for a year of one-to-one creative exchange. Out of a very gifted field of candidates, he chose Nicholas Hlobo, a young artist from Johannesburg, as his protégé.[1]RMP2014 (talk) 14:20, 12 March 2014 (UTC)

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It seems like there should be a section that describes his purchase of exclusive rights to Vantapaint, the "worlds blackest black", his refusal to allow other artists to use this color, and the ensuing controversy with his fellow artists and Stuart Semple in particular. Something more than the last sentence of the introduction: "He owns exclusive rights to use Vantablack (the blackest substance known) for artistic purposes." The controversy is mentioned on in the Conflict with Anish Kapoor section on Semple's page. - Cl.taurus (talk) 18:09, 5 July 2017 (UTC)

I agree, the Vantablack page even talks more about his douche-baggery. — Preceding unsigned comment added by 74.197.144.134 (talk) 21:49, 9 August 2017 (UTC)

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